Fostex 250 - Sync Recording (Overdubbing); Making the Overdub

section 4 SYNC RECORDING (OVERDUBBING)
Sync recording, also known as overdubbing, is one of the
major benefits of multi-track recording. It permits complex
musical arrangements to be assembled-one element at a
time, sometimes by a single performer. The performer listens
via headphones to previously recorded tracks while record¬
ing one or more additional tracks on the same tape. The
Model 250 has special capabilities that enable it to playback
and record synchronously (sync recording).
Recording in sync (making an overdub) is a natural extension
of the process used to record the original track. The unit must
be set for sync playback. If the performer is other than the
person operating the Model 250, then a second set of head¬
phones should be worn by the performer.
MAKING THE OVERDUB
Figure 5. Steps for sync recording with Model 250.
5
■ a
3
t. Connect a mic or instrument to an input channel. Since a
mic already is connected to channel 1 from the instruc¬
tions in Section 3, it can be used. However, it will be
assigned to record on a different track.
2. C hoose the track on which the overdub is to be made. In
this case, an overdub will be made on track #2, and set
the input channel’s 4 CHAN BUSS selector and PAN pot
accordingly.
a) 4 CHAN BUSS selector at 1-2 position.
b) PAN pot fully clockwise at R position.
c) Set the 4 CHAN BUSS selector of inputs not being used
(#2, #3, & #4) to OFF (center) position.
3. Depress the RECORD TRACK button corresponding to
the track on which the overdub will be made ( f t 2 in this
case) to make the track ready for recording.
CAUTION: Make sure no other RECORD TRACK button
is depressed since this could lead to inadvertent erasure
of a previously recorded track.
4. Identify the channel numbers corresponding to those
tracks which either are about to be recorded, or which
have already been recorded (channels # 2 and #4 in this
example). Then:
a) S et INPUT channel #2's MON MIX to scale #7. This
ensures that the track 4 playback and track 2 recording
signals will be fed to the MONMIX buss.
5. The METER function switch should be set to RECORDER
position so the recording level and track 4 playback level
can be monitored by the HEADPHONE outputs.
6. On the channel with the live sound source (channel # 1):
a) Set the INPUT selector switch at LINE/MIC position.
b) S et .the channel FADER at nominal #7 to #8.
c) Adjust the TRIM control for a suitable level indication
on the TRACK 2 VU METER (peaks approx. - 3 VU to
OVU).
7. Set the HEADPHONE control for the desired listening
level.
NOTE: The sound heard in the headphones does not
necessarily reflect the level balance that will exist in the
final mix. Initially, the tracks are each being recorded at
the optimum level for high signal-to-noise ratio and low
distortion. During remix they can be precisely level
balanced.
8. Assuming that the AUX INPUT jacks are not being used
during this operation, it is a good idea to set RCV 1 -2 at
minimum (#0) to eliminate any hiss from the unused
inputs. Also, check the PITCH CONTROL to make sure it
is centered so that tape records at normal 3-3/4 ips speed
(9.5 cm/s).
9. When ready to begin recording, simultaneously depress
the PLAY and RECORD buttons. Confirm that tape is
winding at constant speed onto the right hub. The LED
above the #2 RECORD TRACK selector button now
should stay on instead of blinking, and the record mode
LED adjacent to the RECORD button also should turn on,
NOTE: If the operator requires both hands free , use the
remote foot switch. Place the transport in play mode, then
step on the switch at the instant you wish to initiate
recording.
10. When the recording is completed, press the STOP button.
ii